[131] That the dances of salutation and homage in most cases really are to be derived from the expression of joy has been shown by Spencer, _Principles of Sociology_, iii. p. 201, and might be corroborated by instances referring to all the details of complimentary ceremonialism. [132] Carver, _Travels_, pp. 180-182 (Lake Pepin); Martin, _Molukken_, p. 57 (Lectimor); Polack, _The New Zealanders_, i. p. 88 (Maoris). Cf. also Rienzi, _Océanie_, iii. p. 170, on the frequent quarrels between Europeans and Maoris that have arisen from a misunderstanding of these kinds of salutation. Johnstone, _Maoria_, p. 49: “The war dance was practised both as a martial exercise and as an amusement, and was considered equally adapted to give honourable reception to friendly visitors or to intimidate an enemy on the field of battle.” [133] Cf. the instances collected by Féré, _Pathology of Emotions_, pp. 360-390; and Godfernaux, _Le sentiment et la pensée_, pp. 65 _sq._ A powerful description of the mythogenic justifications by which anxiety creates to itself a reason is given in Maupassant’s poem “Terreur” in _Des Vers_, pp. 19, 20. [134] Cf. on the infectious influence of dramatic performances, Cahusac, _La danse_, i. pp. 166, 167; ii. pp. 61, 62; Jacobowski, _Anfänge der Poesie_, pp. 127-129; Tarde, “Foules et sectes,” in _Revue des deux Mondes_, vol. cxx. (1893), especially p. 368. It is scarcely necessary to point out to how great an extent the emotional conveyance by means of dramatic action must have been strengthened by the chorus, which, by its laughter or wailing, affords a kind of model expression to the spectator. Possibly, indeed, the Greek chorus developed from a ceremonial in which chorus and audience were not distinct but identical—a ritual of wailings or rejoicings provoked by the recital of a traditional story. This view, curiously in advance of his times, is suggested by Brown, an eighteenth century philosopher (_History of the Rise of Poetry_, pp. 126-128): “How came it to pass that in the more barbarous periods the number [of the chorus] should be so much greater? Manifestly because that rude age bordered on the savage times, when the _whole audience_ had _sympathised_ with the _narrative actor_, and became as one general choir.” [135] Engel, _Ideen zu einer Mimic_, i. pp. 86-88; cf. also Seckendorff, _Vorlesungen über Declamation und Mimik_, ii. p. 5; Sully-Prudhomme, _L’expression dans les-beaux arts_, pp. 96, 97. [136] Lichtenberg, _Briefe aus England, Vermischte Schriften_, iii. p. 262. [137] Lange, _Nydelsernes fysiologi_, pp. 168, 169. As to the importance of imitative reaction for our enjoyment of sculpture, cf. Vernon Lee and Anstruther Thompson, _The Contemporary Review_, vol. lxxii., pp. 677-679. [138] Sully-Prudhomme, _L’expression dans les beaux-arts_, pp. 4, 5. [139] Nietzsche, _Die Geburt der Tragödie_, p. 8.